A meditation...of sorts

University...

Film Review: Crimson Peak

Last month we were faced with the new feature film to have been crafted by director, Guillermo Del Toro, Gothic romance, Crimson Peak. Previously renowned for his work directing films such as Pan's Labyrinth and Pacific Rim, Del Toro has this time collaborated with the likes of Tom Hiddleston and Jessica Chastain to create something fairly especial, but which has received a consequently mixed reception.

Crimson Peak follows the story of aspiring American novelist, Edith (Mia Wasikowska), who upon meeting the charming Sir Thomas Sharpe, soon weds the gentleman and moves to England to live with him and his sister, Lady Lucille. From the onset this film casts a strong sense of foreboding, where crime, horror and romance coincide to reflect the focus themes typically found in Gothic novels. These three pivotal characters ultimately share a dark back story, whether it be the enigmatic nature of the siblings' history or Edith's ability to see and communicate with the dead. Evidently it's a film that strikes a chord in all those with a inquisitive nature, for which our curiosity can be channelled through the naive Edith.

One of the main reasons why Crimson Peak was seen as such a disappointment to many viewers was the way in which the film was sold as a horror. The trailer implements jump scares, chilling voice-overs and mysterious, incidental music which is collectively driven into the viewer to make them tense and fearful. So surely, with these many devices in mind, you can easily infer this is a gothic-take on a horror film? You'd be wrong. Yes, there are moments where Del Toro has used violence to make the audience uncomfortable, and yes, he has constructed the story using the harrowing cries of spirits wailing in the corridors; but to be fair, without the ghosts, the story would be no different. What I'm trying to say is that there is no reliance on the ghosts to drive the story forward; this is a story where ghosts are found but it is the reality of crime and murder which is the focus, not the ghosts. Rather this is a form of psychological horror, shown through the development of Lady Lucille and her younger brother Thomas Sharpe. Other than the overhanging threats of murder and repetition of the colour red, the film's notion of horror ends just about there.

Despite being the main character, Edith comes across as one sided, lacking the character development we would expect from any given novel/film's protagonist. At the start, she is presented as strong-willed, independent and in full belief of the existence of ghosts. Push forward to the end of the film and she is much the same, back where she started, albeit with a stronger sense of the spirit world.

However it is not all false intentions and development faults. The cinematography and attention to detail is something to be deeply appraised. Mise-en-scene plays a profound part in any given Gothic Romance, not only in bringing scenes to life with historical vibrancy but to also capture the conflicting serenity and bleak, disquieting nature of a location. Crimson Peak, with its torn roof, seeping floorboards and grand architectural design gives it the reading of a place with memory. Essential in the eyes of Del Toro, this gives the location personality, making it a critical character in this tale. It is also the use of costume and setting which helps to create the right atmosphere. At the beginning, the use of high key lighting, affluent décor and striking costumes, makes the mood comfortable and warming. This is then contrasted with the dismal low key lighting (implemented when the characters arrive in England) and the Sharpe's subversive deep-toned clothing which makes the mood take a darker, more ominous twist.

I've already mentioned how Edith's character appears one sided, but this is not to say she isn't an intriguing one. From very early on, Edith is none too shocked  by the existence of ghosts, and through this fascination she easily emulates the curiosity experienced by Catherine Morland in Jane Austen's Northanger Abbey. Catherine yearns for something exciting to happen, and this materialises in her 'Gothic fantasies'. Similarly, Edith shows this need to escape from mundane social decorums. This subscription to the conventions of the Gothic novel (where often the female protagonist is drawn to the darkness, in order to escape the constraints of society) is an attractive concept and helps provides Edith with a far more distinctive personality, thus sustaining interest for the viewer.

By far the greatest attraction of this film is the two characters, Sir Thomas Sharpe and Lady Lucille. The founding reason this film remains so popular is because of how these two are presented. From the start, both characters are elusive and mysterious, most of all Lady Lucille whose behaviour makes us wary of what she is capable of. Fundamentally we get the sense she is hiding something. As for Thomas Sharpe, he immediately embodies the winsome gentleman found in most period, romance films- soon to become the love interest of the lead female. Yet 30 minutes in and this beguiling character is more affected than what we immediately perceive him to be. Here we have two characters who are much more fractured than their reputation supersedes.

Crimson Peak, despite such flaws cannot be ignored for it's deliverance of a classic Gothic Romance. Sexual intrigue, intense relationships, violence and corrupted actions are all elements that characterise the Gothic genre and this is exactly what Del Toro has brought to the table. The Gothic genre is all about examining the human condition: what is means to be human, how we function etc. Critically however, a Gothic novel/film should provide powerful messages that make us question the actions of a character, usually scripted through pathos and dramatic irony. It isn't until the end of the film that we come to realise Thomas Sharpe was heavily influenced by his sister, following her direction because that was all he had left to learn from. His incestual relationship with his sister is almost a metaphor for his helplessness and reliance on her. Note that Thomas never killed anyone, rather it was Lucille. When Thomas meets Edith and begins to see love as something new, different and more sensual than the love he has for his sister, he begins to realise the love one has for their relatives is different to that of another i.e. Edith. It seems to me that Thomas is really the innocent character in this, caught up in his sister's views. Her reliance on him is draining and we see that theirs is a fragile relationship which although detestable, reaches out to us in the way we reach out to the monster in Frankenstein. Del Toro captures the detestable and makes it anew in a form that even in a modern society, can shock us, and that is mightily brilliant.

Book Review: The Rest Of Us Just Live Here by Patrick Ness

‘There’s something very comical yet tentative about the way he writes’ Wilhelmina reviews Patrick Ness’s ‘The Rest… http://t.co/Gj8tgPGT6g

— Maximum Pop! (@maximumpop) September 18, 2015

An Interview with Lewis Watson

Bred in Oxforshire, Lewis Watson is a pretty established artist coming up in the music world and not just because of his music, but also because of his ultimate dedication to the art and soaring passion to write what's important to him. The singer-songwriter has boundless talent, possessing a soulful, emotive voice which helps to create a tuneful harmony between the lyrics and melodies. It's not hard to slip into the daze of themes surrounding his music, about both matters of importance and in the rare case, something more nonsensical. But even so, the power of Lewis' art is so great that even the most trivial case is examined and cared for so that it may be appreciated by listener's just as much as it's importance lies in the palm of Lewis' hand. Most importantly however, you can always expect his music to provide a cathartic release; as every verse is driven into each repeating chorus, the music caresses the mind with all its poetic vibrancy.

I had the pleasure of talking to Lewis a few nights back and was able to get a quick interview with him, which I hope you will enjoy reading just as much as I did. If his music isn't enough of a hook to draw you in, his bright personality and upbeat ethos is sure to have you seriously respecting him as a musician.

Hey Lewis, how have things been?

"yeah, very good thank you. different with this record because it was recorded in 3 weeks with one producer, in one studio and the band. the first album was recorded over 2 years with 6-7 producers, in a wide range of studios and with a whole catalogue of musicians which was great - don't get me wrong - but i much preferred this approach to creating music. i was in a bubble for almost a month and that really enhanced the process for me. so, yeah, i'm very good !"

So you've released your first album and are set for a second. How would you say your music's developing?

"i'd like to say that my music is evolving, lyrically as well as production-wise. i've always said that if you sit down and listen to all of my music (not that i recommend this to anybody....) in order, from the 1st ep through to the first album, that you'd hear a slow progression in the sounds and the lyrics. this is just because i'm still growing as a person and a musician and i'd like to think that you can hear my 'journey' through listening that way. this second record is a continuation of that journey. i've used the band more, i've used the electric guitar and synthetic instruments more and it's helped me to create an album that i can't wait for people to hear."

Are you hoping to adopt a slightly different style to attract a wider audience?

"another thing that i've always said is that i make music for me first. it's not that i don't care what people think of my music (everybody always cares about what people think !), i just think that i'd be selling myself short if i just created what i thought other people wanted to hear. i've been very lucky in the fact that people enjoy listening to my music and it makes me very, very happy to hear that it can calm somebody down after a stressful day or help somebody get to sleep but i never write the songs for that reason. i write them for me first because then, it doesn't matter if it's well received or not because i'll be happy. i wouldn't say that this album is a different style, really (there are a few happier ones in there but i didn't force them (!!) - they just came), it's just another step in the journey. a little evolution. if it attracts a wider audience then great, hiya !"

What do you hope fans will take from your new music?

"i don't know, really. (you never really know, really...) i just hope that people will enjoy it. like i said, i wrote these songs for me and i'm very happy with the way that they've turned out so, whatever happens, i'm fairly happy. however, it is weird having this music almost ready to release without knowing what people will think. i reckon only about 10 people have heard this album in full and that's a pretty scary thought. people could love it, people could hate it. it's that kind of stuff that keeps me up at night... so yeah - i just hope that people enjoy it but, like i said, i'm happy with it either way !"

You manifest a very affable and open personality. Is it something of this sincerity that you hope to express through your music?

"haha, thank you ! i'd really struggle to write a song about a fabricated situation, they're all based on an experience i've had or shared with a close friend/family member so in a way, yes. they're all 'sincere' and i hope that comes across when people listen back. i always enjoy the songs that i can connect to the most and it's these songs (most of the time) that have been written when the artist/band has poured their heart out into a few words and melodies, not invented a story and written about that. i just hope to replicate that."

You've worked alongside artists such as Gabrielle Aplin, Kimberley Anne and Hudson Taylor, to name a few. How important do you think it is to have connections in the industry?

"connections are amazing but these are all friendships, i love those guys and i believe in what they do. we've all shared the road together and we've all gone through the motions of being young artists in a fairly isolating industry. so in that way, we relate to each other. it's always nice to collaborate on a song, too. love that."

Earlier in the year you were one of the first few artists to step up and cover Zayn Malik's first solo track, I Won't Mind. Why was that?

"i just heard the song and really enjoyed it. the fact that it was a really raw demo just set me up to have a go. i'd been wanting to test myself in recording music and i thought that trying to record, mix and release a song in under an hour seemed like a nice challenge. so i set up my equipment and just made a rough demo of the song. it took me just over an hour (so i failed) but i was very happy with the outcome and it was nice to hear what people thought of it, i still haven't heard from zayn. quite a risk but it worked well. heck yeah, risks."

When it comes to songwriting, do you feel you have to build a story to make it evocative or can it be as ineffable as a notion, or simply down to a feeling?

"a song can be written about anything, for me it's writing about something that i struggle to talk about. i find that it helps me find the most poetic way to describe the situation/feeling/person, etc. but the subject can be anything, a melody i heard, a view i saw, a person i miss, a time when i was wronged, a time when i wronged somebody, etc. anything."

Finally, what pushes you to make music? Is it a matter of feeling inspired by other artists' work or more about finding your voice and expressing yourself through it?

"being inspired by other artists certainly helps me strive to make the best music that i can but that's not the sole reason. music is just something that i've enjoyed all of my life and to be able to create music is something that i've always wanted to do. i never expected to do it, i never expected anybody to listen to it and i definitely didn't expect anybody to enjoy it !!! but yeah, everybody has their dream and this is mine. i'm so lucky to be able to do this and i won't let that go for anything, getting here was hard and i'm still at the start so i'm excited to see where it takes me !"

You can find Lewis on Facebook, Twitter, YouTube.
Lewis' debut album, 'The Morning' can be purchased from iTunes or if you fancy a physical copy, just head down to your local HMV.

Music is so FUDGING amazing

EP Review: Messing With My Head by Rosie Samaras

It’s been a while since its debut release, but ‘Messing With My Head’ by singer/songwriter Rosie Samaras is no less enticing than when it was first released, appealing to audiences both young and old. The EP as a whole is far different from any of the material I’ve looked at before, with an alternative crisp sound that’s just as ironically exciting as the rock tunes I endlessly revel over.

Throughout the EP Rosie uses her smooth vocals to convey sharp emotions and she does so using a characteristic tone of voice which makes her music especial and personally more enjoyable. ‘Messing With My Head’ is the first track on the EP and as a forefront song, acts as a marker for the quality of the remaining tracks. Lyrically it’s beautiful and the melody creates a serene mood which when matched with her intense control of tone helps to create something individualistic and appealing. The delicate picking pattern combined with the assured guitar strums provides just the right sense of serenity to create a compelling track. Opposing this is ‘Goodbye For Now’ which unlike ‘Messing With My Head’ uses a more up-beat tempo. Really trying to show her breadth of talent, Rosie brings forth a tune which contributes the attitude associated with strong feminine artists such as Christina Aguilera. This is a much stronger song in terms of showing brutality towards this theme of love and relationships which overhangs the subject matter for the EP.

Bittersweet is a word definitive of the music on this EP. When listening to the songs it’s not hard to sense the current of tranquillity and repose that the faintly doleful tracks provide, such as is found in ‘Hard To Forget’ and ‘Bad Idea’. In ‘Hard To Forget’, lyrics such as ‘”you keep me wishing on that star” are reminiscent of childhood dreams, creating a story about innocence and naivety that resonates with many young girls. It’s lyrics like this that will have people turning to Rosie’s music in a bid to identify with her and support her music exponentially. Moreover, this concept of a story is something that makes Rosie’s music iconic and potentially the most successful. ‘Bad Idea’ begins with an intro that opens up as if Rosie’s ready to divulge into a story, and I love the way that as a songwriter, rather than explaining her feelings explicitly, she alternatively paints a picture with her words. The imagery this stimulates is dramatically vivid and powerful.

Usually I would consider the negatives of an artists’ music or sound but in finding little to criticise, what I can contribute more so here is belief that Rosie’s music will establish itself as she gets older. Currently the EP uses a series of instruments which gives it a lively appeal, currently rooting her music in the acoustic genre. However, with the right progression, she may even benefit by experimenting with adding synth sounds to delve into the pop/ RnB genre which would really help to define her voice. Already the high notes found across the entire EP attest to her fine-tuned control of voice; so the talent is there. For now however, this is the first of many releases building towards a more developed sound.

Rosie Samaras is bound to find maturity over the years in the development of her music, but as of now, she can still yet convey a dedicated amount of emotion, making her music inspiring and beautiful to admire. I’m not a massive of fan of female artists’ sound, and it’s hard to pin-point exactly why that is so. Any singer with a unique sound and the ability to invest so much thought and feeling in their music is admirable in my eyes and I’m glad to say I’ve found a great singer in Rosie for showing just this.

‘Messing With My Head’ is out now on iTunes.

You can also find Rosie on Facebook, Twitter and SoundCloud.

EP Review: Small Wars by Zurich

Zurich is an Oxford based band consisting of Adrian Banks (bass & vocals), Chris Gillet (guitar & vocals), and Leigh Taylor (drums & samples). Not only does Zurich capture the hysteria of 80s electronic pop but they also infuse a blend of classically popularised rock into their music: a startlingly evocative mix sought after by many music fanatics. Their sound as a whole is both unique yet familiar through the use of characterised deep vocals, shredding guitar riffs and thrilling combinations of both drum and bass, key indicators of soulful rock tunes.

‘Small Wars’ is the latest EP to have borne the band’s signature sound where we find a variation of both up-tempo tracks and those that are a little softer, but no less transfixing. Two of the most climatic tracks you’ll find include ‘Chemical’ and ‘Alone’. ‘Chemical’ is everything you could expect from a rock song: it rises with an extraordinarily dramatic intro and damnably satisfying drum beats, plummeting into a rich, crisp chorus, leaving you on edge, begging for the music to flourish into something even more majestic (if that was even possible).  Essentially it provides the husky tone of voice respective of a soul-driven musician. ‘Alone’ is another dramatic track drenched with emotion, which like ‘Chemical’, fixates on taking the subject of love and making it both melancholic but addictive.

To not be just a good band, but a great one, a band needs to show that not all rock songs have to be loud to be powerful. Luckily for them, Zurich is able to show just the right amount of flexibility with their music. ‘Invisible Man’ takes on a slower tempo to ‘Alone’ but is, if not more, musically complex with the addition of synths and a noticeably more audible change in chord progression. While it sounds elaborate it works really well to make the song sound more in tune with techno tracks currently circulating the charts.

‘Menace’ on the other hand, is a lot heavier on guitar, fixated on the inner artistry of rock. The title is intriguing so it doubtlessly leaves you curious about the song and without disappointment: a variation and change in pace, chords and tempo creates a sense of excitement, trepidation and boosts satisfaction.  Lyrically it’s dark and languid, “f*** these ghosts of mine”, which appeals to the side of you that begs to rebel against the system, almost luring out the unadulterated demon within us. It doesn’t half pack a punch when a band can have such an impact without screaming violently (we’re looking at you Slipknot).

However, whilst the EP is in majority, something of class and true recommendation, ‘Small Wars’ fell short of my full appraisal. I admire the band’s direction into showing this dichotomy between love and hate, which is a theme commonly used in rock songs. The echo effects also help give the impression that the lyrics are the slurred words of a scarred man, which is evocative to say the least. However, the combination of the deep vocals set against the milder, softer paced melody sounds disjointed. While Adrian’s voice is exactly what you want to find in a rock track it doesn’t quite match well with the more delicate tune set here.

Despite this, the more you listen, the battle cry chanting of "ride it out" filters into your mind and becomes more attractive by the minute.  The violin at the end gives this song a raw and unique Celtic air which subverts our expectations of a rock song in a far more confounding way: thus rendering it a reasonably good tune. 

Although not every song will appeal to every listener, Zurich are a remarkable band with an almost effortless ability to bring forth music that is rooted both lyrically and musically in the rock genre. Many times I found myself searching to link their sound with other bands, such as Muse, whose dark themes resonate within ‘Menace’, and Linkin Park’s Numb where you’ll find the melody connecting with the guitar riffs in ‘Chemical’. Other times it’s hard to find comparison because they’re trying to set new ground for themselves as artists: they’re putting themselves out there, providing a rich and explosive sound which is familiar but new. For that reason I have a great respect for what they do. I certainly look forward to what comes next for this band of inexplicably great, local talent.

The ‘Small Wars’ EP is due release Monday 21^st September and can be pre-ordered now on iTunes.

Physical copies are available for pre-order online.

How does Oscar Wilde's Dorian Gray compare to Dorian Gray in the 2009 film adaptation and Dorian Gray in Penny Dreadful?

Dorian Gray: a man with a marred mask wrought upon his figure in representation of his heartless and corrupt soul.

The Picture of Dorian Gray is certainly an interesting book with a widely complex concept that helps give the reader a sense of tension and trepidation. Like most Gothic novels, it delves into the human condition and looks at the serious consequences of our actions. The Picture of Dorian Gray is just the same: looking at the decline of Gray's concern for morals whilst his reputation (at least for some time) remains unscathed. After having finished uploading the video I came to realise a few more points of comparison could be brought up, all of which can be found below.

• In the novel, Wilde only really reveals that the painting of Dorian, in its state of degeneration, shows that is has aged horribly and the face, scarred with a look of malice. By the end it is described as being many horrors that one could hardly fathom, which in fact leaves the deterioration of this painting, in majority, down to the imagination of the reader. This is really effective because it allows the reader to attribute their own fears to this painting, making it more personal and terrifying to them alone. 

• In Penny Dreadful, John Logan builds up the suspense by showing Dorian entering the chamber into which he has locked away the painting, without giving the viewer a chance to see the picture for themselves. It isn't until the second season that we see it. In a similar way to Wilde, Logan tried to leave the picture up to the viewer's imagination, just as it was for Reeve when filming said scenes. What's potentially one of the most profound things about Dorian is how when he looked upon the painting (and saw the figure move) he still appeared shocked and slightly fearful of how corrupted his soul was becoming: in response to the many sins committed. Just like the novel, there is a part of Dorian that has consciousness of what his soul has become and while he tries to put on a façade of indifference and coolness, he cannot hide the part of him that torments him most.

^Penny Dreadful Season Two Spoiler

• Another point I'd like to make is how the painting was presented in both the 2009 film adaptation and in Penny Dreadful. In Penny Dreadful, we find Dorian's figure hunched over and chained up as a metaphor for his soul being condemned to hell, thus showing he is shackled to this 'agreement'. Being hunched over, Dorian's soul is burdened by his sins and age which leaves him almost cowering in submission of his master (in theory, the devil). I love the way in which the painting was composed in terms of how he was positioned and to have done so in chains, however I felt slightly disappointed by his visage. At first I thought I hadn't felt fearful of the painting because as a member of a modern society, I have become desensitised to the classically 'scary'. But on watching the film, the picture is far more hideous and unnerving; what makes it so is how the painting literally starts rotting and we see maggots falling from the canvas, eating away at Dorian's soul. This sense of revulsion is intensified further through the breathing sounds which makes us feel all the more disgusted by the picture. 

Left: the painting in Penny Dreadful, Right: the painting in Oliver Parker's 'Dorian Gray'

• Not a comparison point, but it is important all the same; the 19th century was a time when fashion, reputation and saving decorums were of the highest concern, particularly in how the three determined your class and level of importance in society. The Picture of Dorian Gray was published in 1891 (first edition published 1890-in serialised form) when society's attitudes and values were rapidly changing. Those of the upper class were more likely to form façades to hide their beliefs whilst still being able to be seen as one of the gentry, upholding their good reputation. In the novel, Dorian Gray uses his youth as the façade for his sins. As the novel progresses, people start to hear stories of his scandalous acts, however no one can fully denounce him because his beauty and fair nature to all who perceive him, appears innocent and unaffected by life's woes: essentially, no one so fair and innocent in appearance could have committed such 'vile' acts as his. The irony behind it all is that we know he has committed them and so in having his youth mask his corrupt nature, he is able to preserve his dignity and reputation.

• Poignancy. There is something extremely poignant about the story behind The Picture of Dorian Gray, found across all adaptations of Dorian's character, and that is the unending tribulation of immortality. Whilst immortality may seem a thrilling and attractive prospect, after years of living the same sensations, Dorian is not only faced with the longevity of boredom but also the isolating alienation he has towards people in society. This is more evident in Penny Dreadful where we get the impression that Dorian lives to form acquaintances with people who are easily torn from his life by the hand of death while he remains detached from the people around him. When he meets Vanessa, another like-minded character with evils such as his he is beyond measure, overwhelmed to have have found a fascinating pursuit which gives his life meaning. Another way in which we are made to feel pathos for his character is when, in the original story, he is so tormented by the painting that he decides to cast aside all sins and to finally lead a good life. In his attempt to do so, he destroys the painting, thus ending his own life. If there's one thing that is bound to have you feeling empathy for Dorian Gray, it's the powerful ending that Wilde leaves us with. 

Extraordinary Means Book Review

Robyn Schneider provides ‘such vivid imagery through her words’. Wilhelmina reviews… http://t.co/vy7QoVmWmg pic.twitter.com/RzZpn2J87g

— Maximum Pop! (@maximumpop) August 7, 2015

Red Queen Book Review

It’s dramatic, compelling and illustrious. Wilhelmina reviews Victoria Aveyard’s ‘Red Queen’. http://t.co/5HhZ0Txxis pic.twitter.com/sLaMxt0o8Z

— Maximum Pop! (@maximumpop) August 6, 2015

Why I LOVE Gothic Literature

Everything great about Frankenstein

Ideally, I began making a video looking into the overarching reasons as to why Frankenstein (the novel) is such a profound piece of fiction and what specifically, makes it so powerful. But after several attempts to try and form coherent words that could chiefly describe the fervour I have for this novel (and failing), I decided to just write about it instead. After all, who doesn't love an essay of a review? (only joking xD)

Other than the character development, as mentioned in the video, there are 3 other essential reasons as to why I find the novel insatiably evocative.

1. It's scary. When Mary Shelley came up with the idea for Frankenstein, she was spurred on by the knowledge that she had to create something that would be so horrific it would shock all who read the tale. After the idea was conceived- that which freighted her own mind-she knew this novel was bound to shock other readers, showing that she was able to successfully create something powerfully frightening that didn't just win her the praise of the writers who set the challenge of writing a horror story, but also the contemporary audience. The fact it still resonates as a horrific tale of abandonment, violence and abhorrence in today's society just goes to show how effective she was at birthing Gothic literature into this expanding society and instil a resonating horror befitting of the label, horror-story.
2. It's timeless. As referred to in my previous point, Frankenstein still resonates within society today, not just because Mary Shelley was a great writer, particularly because she was only 18 when she wrote Frankenstein, but because even now we see how cruel and tainted society is by all that is negative. We may have progressed in our development of our morals and how we judge less harshly than the Georgian/ Victorian era had done towards any one deemed 'different', but there is still the presence of evil, selfishness and brutality in how 'man' acts. If a corpse were reanimated in today's society, they would still be regarded just as inhuman as Frankenstein's monster in the early 1800s. Failing that, they might even be called on as a freak, mistreated and faced with the technology we have, news of their existence would be spread globally, enhancing the taunts and isolation which would befall their innocent mind. Galvanism may not be a viable option to do such a thing as imagined by Shelley but in the future, there's no saying that we might not have the technology and resources to recreate the horrors of Frankenstein's tale. 
3. Themes. Mary Shelley explores a whole variety of themes, many of which are so profound I cannot begin to explain how amazing it is that she, at the age of 18, was able to involve such deep and naturally conflicting themes into her novel, perfectly befitting of the Gothic genre; not just the genre however, but also so poignant and expressive that they seem utterly necessary to make a novel a success. Such themes include:

• Human psychology (Victor's rapid decline into depression and his increasing feeling of unease and fragility which possessed his years following the creation of his 'daemon')
• Mortality (Here, woven into the tale is this idea that life could yet be made from the dead, however haunting it may be, allowing the previous life to continue in yet another form. Percy Shelley's work touches on this, "No more let Life divide what Death can join together")
• The Meaning of Life (Constantly the monster wonders about his existence and why he is brought into the world looking the way he is, scorned by those who fear him. He also shows need for a companion, since marriage, particularly at the time was an important stage in one's life: this perhaps is what he sees as the purpose of life, in finding a companion)
• Developments in science/ learning (Galvanism was a theory that occupied Victor's mind and led him to create the monster for the mystery of electricity was new ground for his young mind. The possibility to do great things from unknown areas of science was and still is overwhelmingly alluring.
• Good vs. Evil (The innocence and purity of the children and women who Frankenstein's monster comes across gives him hope of acceptance. Only to be torn from happiness does this return his mind to a state of vengeance and want of evil wrongdoings)
• Intrigue (How exactly was the monster created? We know galvanism was a part of it but overcome by sheer terror, Victor does not reveal the endeavours of the monster's creation. Shelley also begins her story with an enigma when a Captain accounts for a mysterious figure boarding his ship in his voyage to the Arctic; it isn't until the end that we realise the whole tale of Frankenstein was recounted specifically for the Captain)
• Science & Religion (This is the most exciting theme that the novel was cast forth into because in many ways the novel also challenged religion. In this we find Victor essentially 'playing God' by creating and bringing a new being into existence. Some would say his punishment for this is the never-ending torture that follows from the creation of the 'daemon'. Furthermore, when the two are confronted with one another after a few years, Frankenstein's monster says that he should have been created in Adam's name-his visage-but that instead he is a monster. He then goes on to say that he felt empathy more so with the Devil who felt envy for his fellow 'friends'. The fact this theme was addressed so specifically is exciting)

Single Review: Drag Me Down by One Direction

If you're a One Direction fan you're more than likely to have woken up this morning in a state of unequalled frenzy, given hardly fair warning to the announcement of One Direction's latest single, Drag Me Down. This is the band's first music release where Zayn's vocals and especial ad-libs have not been present. Whilst admittedly moving into more of a rock scene has left my interests in the pop world astray, I didn't hesitate to give this song a try. Immediately it seems this is a song similar to any other One Direction track: there's fluidity in the vocal range and the chorus is upbeat and catchy, enough to drive the song forward and instil a euphoric state of mind within the listener; So not much different here. Yet what probably makes the song disparate in the way of style is how the more you come to listen to the track, the more it catches on and you begin to feel yourself slipping into the rhythmic beat.

Drag Me Down has undertones of a techno track, showing the band's maturity and movement into a music genre which is becoming increasingly popular. The addition of synth sounds seems multiplied to establish this development and ultimately surprise former listeners. The fact the opening is slow and controlled before the bass cuts in shows the band are essentially trying to make this track an upbeat, summer anthem of a tune. 

In a nutshell, this is a love song. Lyrically it is soft and full of the 'crush' fantasies of a love-induced teenager which is a very characteristic boy band inspiration, something of which we are sure to expect from One Direction songs. But the melody does help to level this song as something more than a track befitting of the 'romance genre'. Yes, we find the metaphors conventional of such tunes, "baby you're my boat" which admittedly sound played out and in all best efforts, orthodox and dare I say it, cheesy. However, the songs do offer some retribution from this with some more unusual and heart-felt metaphors, "I've got fire for a heart", "I got a river for a soul".

At the end of the day this is a band whose target audience primarily lies with young teens, and whilst many people like myself (classified into the young adult bracket) can be said to be the primary supporters of this band, the songs will nevertheless continue to be aimed at a younger audience, meaning that they are bound to forego stories of love interests and heartbreak. Eventually there will come a time when love songs aren't enough, at least for the current generation and that is where we find the criticism for the band: not necessarily for their talent, which is wholesomely rich, but in the matter of their songs and the vivacity with which they are performed.  In my opinion, Drag Me Down is quite a lot different from the tracks taken from their last album, Four, and that is why it appeals to me. If you're someone who is sceptical of the band's sense of originality in the track and their music in general then there's all the more reason to check this out.

Drag Me Down is out now on iTunes.

Penny Dreadful: Characters, Cast and Conventions of the Gothic Genre

Having experienced my first ever comic con on Sunday I've been re-watching Gothic series, Penny Dreadful, racking my brains over reasons why and how the series leaves me utterly confounded by the scenes constructed. For one, the mere illumination of the Gothic genre makes this series all the more compelling and and vastly unique when compared to fantasy series like Game of Thrones and contending films of a familiar genre (which are consequently more often explored than the Gothic genre); it's set in a dark and foreboding Victorian London: hardly exotic, yet it still holds a fermenting reality that's unlike the now familiar fantasy realms. The collision of infamous literary characters woven into the fabric of Victorian London has allowed John Logan to create a masterpiece of programs, where fans of the accredited Gothic novels can find refuge in this carefully constructed art form. There are many key aspects to consider when it comes to this series, notably because not only does the cinematography, set and score  have to live up to our expectations for a high-end series, but also in delving into a territory birthed in the late 19th century, how the programme both subverts and conforms to the conventions of the Gothic genre and to what degree the characters are portrayed, is equally as vital to the plot.

Cast & Characters

Meeting an actor is a lot different to meeting a music artist. So when I met both Reeve Carney and Harry Treadaway on Sunday the experience was altogether new and exhilarating. What's most intriguing however is that in meeting the actors I was able to get a glimpse of the real people behind the screen and essentially see, for myself, how they present themselves through their own idiosyncratic actions and tone of voice. Both actors were sincere and amiable in their nature and mildly disparate from the characters they play. After having watched some of the first few episodes again, I have now come to see the actors actually playing their characters rather than just being the characters. And although this might seem bad, it means that seeing them for who they are has enabled me to see that they have incredible acting prowess. When I watch Harry play Frankenstein, I can see that he puts his all into creating such a conflicted character, provoking an array of emotions simply to beget the fear, sadness and longing suffered by Frankenstein. As for Reeve, even the mere drop of his gaze means so much when it comes to bringing the intensity and sensuality needed to bring Dorian to life. The careful gesture of his hand and the slight inclination of the head makes all the difference with this character, and just as Harry does with Frankenstein, Reeve does this exceptionally well.

• Frankenstein- In Penny Dreadful, we find John Logan exploring Harry's character in an extremely provocative way, showing that Frankenstein is a character who not only suffers from the result of his endeavours (to create a being that now only haunts his every step), but yearns for the compassion of a lover, to return him from the frailty and bleakness of his tormented life. We also find the strong determination rooted in his belief in the revolution of medics and the divide between life and death. Essentially, this is a character built to feel pathos for: for his inner demons and weakness of mind and body. The sheer smart-mouthed and quite frankly sassy demeanour upheld by Frankenstein as he expostulates with Ethan Chandler is yet another reason why it is hard not to fall in love with Logan's illumination of Shelley's classic, Frankenstein.

• Dorian Gray-Dorian Gray is a character momentous of his sensuality and ability to classically  entrance other characters and the reader/ viewer. In Penny Dreadful, we find that the score and use of lighting and shots help to eclipse the horror of the Gothic world, to instead focus on Dorian's coquettish nature. Having met Reeve, under first impressions it's not hard to see that his familiarity with the character rests mostly on the clothes, which although modernised, seem to inspire the character of Dorian Gray. It's the unique individuality and dual-personality of a man interested in the luxuries of life yet someone who shackles away a residing demon that has allowed Reeve to truly reach his potential with this role. A simplest gesture has the power to highlight the serenity surrounding Dorian which altogether makes him enigmatic and estranged from the characters that like most people interested in the Gothic world, would have felt heavily drawn to. Furthermore, during the first series the use of shallow focus, close up shots of the shot-reverse-shots between Dorian and Vanessa seemed to help extend the illusion that Reeve was unblinking, making Dorian and Vanessa's infatuation with one another all the more significant.

What fundamentally makes both actors serve as profound artists in this series is their adaptation of the literary characters. One cannot be compared with the other between bounds of which is better because they are simply binary opposites; Frankenstein is traumatised and ironically weak and powerless, despite his ability to almost 'play God' and so naturally shows frailty but strength in his belief in the search for knowledge. As a doctor, the use of extreme close up shots is necessary to show the delicacy of his work whereas although we see this precision with Dorian, Dorian is a character whose very nature is to be soft, and graceful, but sly also. This is much more divergent with Frankenstein who in comparison, appears less graceful and more clumsy in spite of his medical ability. Both actors however play their characters superbly well, taking on their mannerisms and creating persona's that are strikingly different from their own.

Setting & Costume/ MUA

Decidedly being set in the late 19th century, Victorian London, constructing a live and authentic environment is fundamental in upholding the verisimilitude of the series, really grinding in the viscous reality faced by the characters. Penny Dreadful offers remarkable sets, that astoundingly produce as many sensations as would have been expected to be found back in the late 1800s, showing that the team behind it certainly have a practised eye for sticking to historical accuracy. Even the clothes alone are icons of power, important in providing our reading of characters' class and position in society. The late 1800s was a time when the socialist vs capitalist debate was coming into people's minds, much like the later bid for women's votes. Evidently it was a time of dramatic social change. Here in Penny Dreadful the Gothic world truly shows that it's ready to challenge the comfortable expectations once fashioned by early society.

Conventions of the Gothic genre

A Gothic novel is bound to contain several of the following conventions:

• Antagonist vs. Protagonist theme (Good vs. Evil)
• A monster
• Be set in an isolated area or decadent building
• Set in and around the 19th century/ early 20th century
• Dreary weather

As a culmination of several Gothic novels, Penny Dreadful is filtered with a rise in tension between both good and evil forces. Monsters lurk in every corner, whether it be the sad, isolated, yet poisoned mind of Frankenstein's monster (John Clare) or the vampires, werewolves and witches that fretfully taunt the minds of the Londoners, incapable of understanding the world in any way other than fear. As for the decadence and brilliance of Sir Malcolm's home in London where the story resides, the architecture is grand but also Gothic in it's structure, making it an ideal location for any haunted story. We also find the isolated, shabby and worn home inhabited by Vanessa and Ethan in series 2 which yet again shows that Penny Dreadful conforms to the remote, uninhabited location which only makes the threat of unspeakable dangers closer and more terrifying. 

All in all, Penny Dreadful is much like the books it unravels: timeless and ruthless in how it neither shies away from the debauchery and horrors of the Gothic genre nor refrains from delving into the characters' stories and searching for the inner demons among us all. The only criticism I could give this series is the odd continuity error found on several accounts when I happened to be watching where one character's movement would match up with the next shot. However it is a pitfall even the greatest of directors struggles to avoid and seeming as the process of filming is such a long one, I can't stress enough how insignificant this becomes when matched with the collation of a provocative and emphatic script, score and intelligible use of cinematography. This is a truly inspiring series not to be taken lightly at all.

London Film and Comic Con Vlog

Pretty much another video of me rambling on about my life, this time about going to my FIRST EVER COMIC CON. Moral of the story here is that is was so fudging awesome and now I'm a little too obsessed with Penny Dreadful to care about anything else...hope you enjoy!

Original poem!

So I'm extremely passionate about Gothic literature which is something I'd really like to illuminate for as long as I live on this planet, and very recently I decided to have a go at writing some poetry from the perspective of Frankenstein's monster (who I absolutely adore). Let's be honest, poetry is not my stronghold but I had a go and in an attempt to enter a spoken word competition, I did a recitation of my own creation, Father. Essentially the poem works with the theme, home. Hope you enjoy! Video below.

Thoughts on AHS Season 1...

A little bit random, but hey, weird people are the best and 'normal people scare me'

Book Review: My Secret Rockstar Boyfriend by Eleanor Wood (for Maximum Pop)

‘Expect lots of feels’ Wilhelmina reviews Eleanor Wood’s ‘My Secret Rockstar Boyfriend’. http://t.co/TxCXK6Vqao

— Maximum Pop! (@maximumpop) July 3, 2015

Album Review: Act Two by Collabro

As I sit with my laptop sat securely in my lap and a warm tea waiting for me, I can't help but notice the soft serenity basking the theatre show being broadcasted on my TV. Katherine Jenkins, a widely recognised musician in the classical world, renowned for her dulcet tone of voice and unique breadth of pitch, leaves the stage to introduce forward male-band, Collabro. The name rings a bell but as each young man stands before the audience, no measure of familiarity registers in my mind. It isn't until I'm later told by my father that this is Collabro, the winning act of Britain's Got Talent 2014.

Their performance was effortlessly executed, with a perfectly cathartic shrill, something which is reflected in their second and most recent album, Act Two, where we find that Collabro have made a graceful leap into a profound territory as an increasingly established band, surpassing the success of their debut album, Stars. I was obviously compelled to have a listen, but rather than finding a conflict of invariably good and yet bad songs, as I've come to expect from most albums (since after all, music is regrettably subjective and not every song is sure to fit your taste), I was proudly surprised to find that each and every song had a character that could not in any way be passed off with the labels, boring or unpleasant. Operatic music has never been more revolutionised and relevant to our culture since the introduction of artists such as Collabro.

Stars was an album punctuated with mainstream songs, sung in a quirky and especial way, distinctive of this classical act. But what's made the second album more effective is that they've come together to yet again, transform these powerful ballads such as 'All Of Me' and 'I Won't Give Up', but then paired these with some of the most dramatic theatrical and film score music out there, in order to reach out to both a contemporary and older audience at the same time. They delivered the talent needed to spike the interest of the younger generation with Stars but here, they pull at our poignant memories with the languid and striking music which, at least for me, is significant in how the songs fundamentally marked my childhood. 'Memories' and 'Music Of The Night' are both performed with the care I expect they ought to be given. The harmonies are enrapturing too, drifting in the air like the soft caress of an ocean breeze. With each minute that goes by, it feels as if you're pulling at silk, which is slowly slipping from your hands as you endeavour to savour the songs, luxuriating in the vocals and string quartet which when combined, develops pathos, yearning and an immense sensation of great loss but triumph and comfort.

'I Dreamed A Dream' is one of the most iconic songs to brace the album which although an over-exposed track, is timeless and well-performed by the band who clearly sing with appropriated use of tone. However, if any song could be criticised, then at least in my opinion, it would have to be Collabro's cover of 'Circle of Life'. This is a song that requires high zest and enthusiasm to accomplish well in performance. Collabro are mightily talented at singing with ardour in their spirits but I felt the song fell short of my expectations for a track which is famous for how it sanctifies the bounty of life and life's accomplishments. The opening was powerful but I found myself willing the music to reach a climax which never came. In rock songs this is created through the guitar riffs or the eccentric cry of emotion, whereas this may be marked in other classical songs with the rise in pitch and stretching of a note that leave the artist/s sounding utterly overwrought with emotion. That's exactly what I was looking to pin-point but sadly this wasn't something I found (at least in a striking way).

All in all, Collabro are a skilful act that have shown classical music can still have significance in this ever-changing music industry, driven by a pop-mad audience. They also retain a beautiful sense of power and strength through the masculine tone of voice which is a rarity among music today. Not to say that other male singers sound weak or effeminate but that just as you find in literature, where gentlemen would have conformed to the stereotypical masculine archetype, Collabro epitomise classical music and the stereotypical masculine 'voice'.* As said, not every song on the album will satisfy your tastes but with only one song as a slight concern for me, I have no doubt that as the band develops, they'll only get better and progress so much so that soon, it'll be hard to lay out any further improvements.

Act Two is out now and can be bought from iTunes, or at your local music store.

*That probably sounds entirely incomprehensible. Don't worry, I'm not aiming to be sexist by saying a man should act or sound according to their archetypal stereotype but simply that it is common within the classical genre, which is seen by some people as 'outdated' or 'old-fashioned', to find the man sounding powerful with a deep tonal range, whilst a woman sounds sweet and yet astonishingly powerful, with a high tonal range.